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Multi-Channel, Multi-Amplifier Audio System Using Software Crossover and Multichannel-DAC

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dualazmak

dualazmak

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Okto Research dac8 PRO v1.5 firmware release

This morning (Japan standard time), I received an official e-mail from Pavel Krasensky of Okto Research entitled "Okto Research dac8 PRO v1.5 firmware release" and detailed instructions for firmware update.

I will dare not update my DAC8PRO (currently firmware version 1.32) until I would fully hear the successful updates by our ASR friends here in ASR Forum, especially those who in Europe who may easily send DAC8PRO back to Pavel when you would have irreversible trouble during the update process.

Related three threads; here, here, and here.
 
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jacobacci

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Excellent Recording Quality Music Albums/Tracks for Subjective (and Possibly Objective) Test/Check/Tuning of Multichannel Multi-Driver Multi-Amplifier Time-Aligned Active Stereo Audio System and Room Acoustics; at least a Portion and/or One Track being Analyzed by Color Spectrum of Adobe Audition in Common Parameters: [Part-14] Piano Concertos



I carefully extracted the audio layer into 96 kHz (up to 48 kHz in L & R) 24 bit AIFF, and use the third movement portion (after 23:47 of the video clip) as my "piano concerto audio sampler" which has remarkable dynamic range in high S/N and very nice transient full orchestra sound having the big drum of 33 Hz;
View attachment 235670



Edit: So far posted in this series;
[Part-00] Introduction:
#587
[Part-01] Full Orchestral Music: #588
[Part-02] Solo Piano Music: #590
[Part-03] Typical(?) Smooth Jazz Music with Guitar: #591
[Part-04] Bimmel Bolle Antique Orgel; Extremely High-Energy High-Frequency Sharp Transient sound: #592
[Part-05] Color Spectrum of Tracks in CBS/Sony's "Super Audio Check CD": #593
[Part-06] Female Vocal in Jazz and Popular Music, and One Male Vocal Track for Comparison: #596
[Part-07] Female Vocal and Counter Tenor in Early Classical Music: #639
[Part-08] (Smooth?) Jazz Trio: #640
[Part-09] Organ Music: #641
[Part-10] Lute Music: #642
[Part-11] Violin Music: #643
[Part-12] Cello Music:
#644
[Part-13] Harpsichord (Cembalo, Clavecin) Music: #645
[Part-14] Piano Concertos: #650
[Part-15] Again, CBS/Sony's "Super Audio Check CD": Analyzed by Adobe Audition 3.0.1 and MusicScope 2.1.0: #651
[Part-16] A Cappella Chorus and A Cappella Vocal Ensemble: #652
[Part-17] Excellent Quality Music Tracks, But Containing Unacceptably High Gain Low Frequency Air Conditioning Noises; What Counter Measures Can We Have? #658
[Part-18] An Interlude or Provisional Finale of the Post Series: #669
Great thread, thank you. Can you tell me how you extracted lossless 24/96kHz Audio from this stream? My scan of the youTube video's formats shows the following. mp4 and opus are both lossy:

[youtube] rEGOihjqO9w: Downloading webpage
[youtube] rEGOihjqO9w: Downloading android player API JSON
[info] Available formats for rEGOihjqO9w:
ID EXT RESOLUTION FPS CH │ FILESIZE TBR PROTO │ VCODEC VBR ACODEC ABR ASR MORE INFO
────────────────────────────────────────────────────────────────────────────────────────────────────────────────
sb2 mhtml 48x27 0 │ mhtml │ images storyboard
sb1 mhtml 80x45 0 │ mhtml │ images storyboard
sb0 mhtml 160x90 0 │ mhtml │ images storyboard
139 m4a audio only 2 │ 13.19MiB 49k https │ audio only mp4a.40.5 49k 22k low, m4a_dash
249 webm audio only 2 │ 14.23MiB 53k https │ audio only opus 53k 48k low, webm_dash
250 webm audio only 2 │ 18.90MiB 70k https │ audio only opus 70k 48k low, webm_dash
140 m4a audio only 2 │ 35.01MiB 129k https │ audio only mp4a.40.2 129k 44k medium, m4a_dash
251 webm audio only 2 │ 37.70MiB 139k https │ audio only opus 139k 48k medium, webm_dash
17 3gp 176x144 6 1 │ 20.88MiB 77k https │ mp4v.20.3 77k mp4a.40.2 0k 22k 144p
394 mp4 256x144 25 │ 17.10MiB 63k https │ av01.0.00M.08 63k video only 144p, mp4_dash
160 mp4 256x144 25 │ 14.20MiB 53k https │ avc1.4d400c 53k video only 144p, mp4_dash
278 webm 256x144 25 │ 23.57MiB 87k https │ vp9 87k video only 144p, webm_dash
395 mp4 426x240 25 │ 33.00MiB 122k https │ av01.0.00M.08 122k video only 240p, mp4_dash
133 mp4 426x240 25 │ 23.83MiB 88k https │ avc1.4d4015 88k video only 240p, mp4_dash
242 webm 426x240 25 │ 36.37MiB 135k https │ vp9 135k video only 240p, webm_dash
396 mp4 640x360 25 │ 67.53MiB 250k https │ av01.0.01M.08 250k video only 360p, mp4_dash
134 mp4 640x360 25 │ 46.15MiB 171k https │ avc1.4d401e 171k video only 360p, mp4_dash
18 mp4 640x360 25 2 │ ~ 83.01MiB 300k https │ avc1.42001E 300k mp4a.40.2 0k 44k 360p
243 webm 640x360 25 │ 69.23MiB 256k https │ vp9 256k video only 360p, webm_dash
397 mp4 854x480 25 │ 123.86MiB 458k https │ av01.0.04M.08 458k video only 480p, mp4_dash
135 mp4 854x480 25 │ 70.67MiB 261k https │ avc1.4d401e 261k video only 480p, mp4_dash
244 webm 854x480 25 │ 108.98MiB 403k https │ vp9 403k video only 480p, webm_dash
22 mp4 1280x720 25 2 │ ~172.33MiB 622k https │ avc1.64001F 622k mp4a.40.2 0k 44k 720p
398 mp4 1280x720 25 │ 256.06MiB 947k https │ av01.0.05M.08 947k video only 720p, mp4_dash
136 mp4 1280x720 25 │ 133.37MiB 493k https │ avc1.4d401f 493k video only 720p, mp4_dash
247 webm 1280x720 25 │ 204.12MiB 755k https │ vp9 755k video only 720p, webm_dash
399 mp4 1920x1080 25 │ 477.31MiB 1765k https │ av01.0.08M.08 1765k video only 1080p, mp4_dash
137 mp4 1920x1080 25 │ 650.56MiB 2406k https │ avc1.640028 2406k video only 1080p, mp4_dash
248 webm 1920x1080 25 │ 618.52MiB 2287k https │ vp9 2287k video only 1080p, webm_dash
 
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dualazmak

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Hello @jacobacci,

Thank you for your interests on this thread, and on my "audio sampler/reference playlist" summarized here and here.
As for your above specific inquiry, I will soon contact you by PM.
 
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dualazmak

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Hello friends,

It is a little bit of my surprise (and great honor) knowing that as of today views/visits on this thread reached 200,000 times since I started on April 9, 2020.
Your continuing visits/participation and kind encouragements will be highly appreciated.
 

MRC01

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First, thanks for the recommendations. I enjoyed them.

... This album "Haendel: Suites for Keyboard" by Keith Jarrett was recorded in 1995; the performance and recording quality is "my taste and preference";
Agreed. It's super clear, natural sounding, midrange focused voicing but that could be a faithful reproduction of Jarret's tone, which is appropriate to these works.

... This album performed by Mao Fujita was really enthusiastically accepted, at least in Japan, as one of the world best piano recordings in years 2013-2014 ...
It's very good but one of the best for 2013-2014? Hmmm... My listening notes:
Voiced bright, Soul knob #3 -2 (lowpass shelf center 1250 -1.6 dB Q=0.5) makes the piano sound more lifelike and reveals the attenuated bass. Clean and clear, highly dynamic. Few incidental noises, occasional breathing, he's a quiet player and the music emerges from total silence. Well above typical Naxos sonics. Some tracks (like 10) sound different, more reverb than others (like 5-8). Multiple recording sessions or rooms? Musically it's a lighter touch, smooth technical brilliance, more refinement, yet pretty rather than beautiful. Expressive yet lacking emotional power. The later Chopin Nocturne & Ballade are overdone, too much rubato, sacrificing the rhythmic drive.
 
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dualazmak

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Hello @MRC01,

Thank you for sharing your thoughts and impressions on my "music sampler/reference playlist" on piano solo performances (post #590 on September 13, 2022).

It's super clear, natural sounding, midrange focused voicing but that could be a faithful reproduction of Jarret's tone, which is appropriate to these works.
Yes, I really love this album "Haendel: Suites for Keyboard" by Keith Jarrett recorded 1995, in terms of recording quality and the style and approach of Jarrett's performance; I always came back to this album after hearing five other piano performances of different pianists. I like rather simple and straightforward approach of Jarrett with consistent rhythm and less ornamentations/rubatos.

Regarding Mao Fujita's Chopin album...
Musically it's a lighter touch, smooth technical brilliance, more refinement, yet pretty rather than beautiful. Expressive yet lacking emotional power.
I wrote there:
"I feel, however, the total sound quality of the entire album would be a little bit "thin" or "dry" (for my personal taste) probably due to the less intake of the hall tone and/or reverberation as well as the issue of microphone selection and positioning. I boost my woofer gain in 3 dB, therefore, when I would enjoy this album as excellent piano "music" performance."
I assume the subtle difference or similarity of our impression on this recording would be also dependent on the difference in our standard/usual DSP settings, audio gears and room acoustics; it would be really nice and enjoyable if I could invite you to my listening room for the flexible on-the-fly relative gain tuning just like I have done for jazz music.
The later Chopin Nocturne & Ballade are overdone, too much rubato, sacrificing the rhythmic drive.
I essentially agree with you!:)
As for the Nocturnes especially #20 in C-Sharp Minor Op. Posthumous (and #21 in C Minor), I always like best the performance by Claudio Arrau, 416 440-2 (441-2 & 442-2) Philips recorded in 1978.
 
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dualazmak

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A tiny step forward: fully independent relative gain controls for tweeters and super-tweeters using an active HiFi-grade pro-use XLR line-level splitter-distributor

Hello friends,

As you may already well aware of, my excellent multichannel DAC, OKTO DAC8PRO, has 8-channel analog outputs, but my speaker (SP) system is 5-way (L&R total 10-channel) stereo configuration having;

- L&R sub-woofers (SWs),
- L&R woofers (WOs),
- L&R Beryllium-midrange-squawkers (SQs),
- L&R Beryllium-tweeters (TWs),
- L&R metal-horn-super-tweeters (STs),

each of these is driven directly (with no LCR-network nor attenuator) by dedicated HiFi amplifier; SW has powerful built-in amplifier, and I use four stereo HiFi integrated amplifiers for others.

Since I dare to configure that my TWs (covering 6 kHz - 25 kHz, starts to slightly decline around 14 kHz) and STs (covering 8.8 kHz - 25 kHz) are singing almost together (with flexible relative gain controls), I feed the CH-7(L) and CH-8(R) (6 kHz - 25 kHz) of OKTO DAC8PRO into SONY TA-A1ES (driving TWs) and YAMAHA A-S301 (driving STs) as shown in this system diagram;
WS00005804.JPG


And the total signal path can be seen in this diagram;
WS00005803.JPG


As I shared in detail in the latter half of my post #404, the amplifier YAMAHA A-S301 driving STs receives the line-level high Fq (6 kHz - 25 kHz) signal in a little bit unusual manner, i.e. by branching from SP high-level signal of SONY TA-A1ES (driving TWs) to go in AUDIO-TECHNICA AT-HLC150 high-to-low converter which steps-down the signal to line-level to be fed into A-S301. You would please find the reasons and rationales/justifications for this signal path in the latter half of my post #404 and in my post here #485.

In this way, although the gain/volume control of A-S301 driving STs is "subsidiary" of TA-A1ES, I could establish safe and flexible "on-the-fly" relative gain control of STs as I shared in detail in my post here #404, and furthermore as I shared here #643 especially related to the flexible fine adjustment/tuning for age-dependent high Fq hearing decline of audience(s).

Well, during the past two months, on the other hand, I detached/reinstalled AT-HLC150 several times for my DIY measurements and tuning of another small audio setup in my office upstairs, and consequently just very recently I decided to use a "HiFi-grade pro-use active XLR line-level splitter-distributor", instead of AT-HLC150, to feed into TA-A1ES and A-S301 so that fully independent relative gain controls for TWs and STs would be established.

I shall keep AT-HLC150 high-to-low converter for my general DIY measurement purpose/tool since it has variable gain controller for headphone monitoring and/or other measurements of SP high level signals.

If I could find/purchase an "acceptably HiFi-grade pro-use active XLR line-level splitter-distributor", the new fully independent signal paths for TWs and STs would be in this way;
WS00005802.JPG


(I have been considering during the past two years about this option of driving TWs and STs, like I have already suggested "Option-2" in the latter half of my post #404.)

During the past several weeks, therefore, I intensively searched and evaluated the review information and specifications for BEHRINGER DS2800 and ART MX225 both can be used as active 2-In 4-Out XLR line-level splitter-distributor;
WS00005801.JPG


Then, I finally purchased BEHRINGER DS2800 mainly because of;
- the lower distortion (THD)
- the higher typical S/N ratio
- one "through XLR output" available together with the four splitted variable-gain XLR outputs in 2-4 mode

The details of newly established signal paths using BEHRINGER DS2800 are shown in this diagram;
WS00005800.JPG


Since YAMAHA A-S301 driving STs has only RCA unbalanced input (no XLR balanced input), I need to use pin-3 floating/unconnected XLR-to-RCA adaptors (EMOTIVA Balanced XLR to Unbalanced RCA Adaptor Interconnect pin-3 floating) which means losing 6 dB gain, but it can be easily compensated by the gain controller of BEHRINGER DS2800.
WS00005799.JPG


Furthermore, please note that the ST, FOSTEX T925A metal horn, is a highly efficient driver of 108 dB/W(1m) which can be very easily and efficiently controlled by the gain/volume of A-S301 integrated amplifier.

You would please be reminded that Even Greg Timbers uses "reasonable and budget" small integrated amplifier Pioneer Elite A-20 (low THD, high S/N, RCA unbalanced input, 30W+30W [20Hz-20kHz, THD0.05%, 8 ohms]) for ultra-high Fq compression drivers (super tweeters) in his extraordinary expensive multichannel stereo system with JBL EVEREST DD67000 which he himself designed and developed: please refer to my post here #435.

In any way, by using BEHRINGER DS2800 and its gain controller for splitted/distributed outputs, I could fully and exactly reproduce my so-far-established flexible relative gain controls for TWs and STs which I have shared in my post #485 as follows;
WS00005798.JPG

And,
WS00005796.JPG


For the exact reproduction and confirmation of these relative gain controls, I performed intensive measurements using precisely prepared white noise (of SONY Super Audio Check CD, ref. post #651) and monitoring the SP high level signals by my DIY 12-VU-Meter-Array (ref. post #535).

In case if you would be interested in Fq response curves before and after (pre and post) of protection capacitors (and 1.5 or 3 microF high-path cap for STs), please refer to here #402 and here #485. As for the Fq response at various “stages” of my setup, digital level to room air sound at listening position, please visit my summary post here #404.

As the overall result, using BEHRINGER DS2800, now I can establish authentic fully independent gain controls for TWs and STs; of course the total Fq response with flexible on-the-fly gain control in high Fq (over ca. 7 kHz) should remain unchanged.
WS00005795.JPG


Now, the total system diagram including DS2800 is like this diagram;
WS00005794.JPG


The configuration for DIY 12-VU-Meter-Array (ref. here) is like this diagram;
WS00005793.JPG


The total signal path is like this diagram;
WS00005792.JPG


The flexible on-the-fly relative gain/tone control remains unchanged shown in this diagram (ref. #438 and #643);
WS00005791.JPG


The DSP EKIO's configuration remains completely unchanged;
WS00005790.JPG


Consequently, the standard (my default) total Fq response with flexible on-the-fly gain control in high Fq (over ca. 7 kHz) remains unchanged even after the introduction of DS2800;
WS00005789.JPG


I will soon update all the diagrams and photos of "the latest system setup", hopefully within a few weeks.
 
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TheBatsEar

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Shows dedication and attention to detail. I wish i could be bothered to document my stuff like that.

Waiting for your new pics. :)
 

Sal1950

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I will soon update all the diagrams and photos of "the latest system setup", hopefully within a few weeks.
Lord you got a whole lot more ambition than I do.
Great job, I'd love to hear your rig.
 

Igor Kirkwood

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Bravo dualmark for the sophistication of your installation based on Yamaha NS 1000 speakers.:):)

And above all you have not forgotten the importance of the target curve in treble. Indeed this one as well as the listening room and its acoustic treatment is the basis of a good listening result.
Too often on ASR we see speaker measurements, without additional measurements with the room.
However, in my opinion, this is where the real quality of a speaker system lies.
 
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dualazmak

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Bravo dualmark for the sophistication of your installation based on Yamaha NS 1000 speakers.:):)

And above all you have not forgotten the importance of the target curve in treble. Indeed this one as well as the listening room and its acoustic treatment is the basis of a good listening result.
Too often on ASR we see speaker measurements, without additional measurements with the room.
However, in my opinion, this is where the real quality of a speaker system lies.

Thank you for your kind words and continuing encouragement. Yes, I fully agree with you.

My post here #687 would be a typical, a kind of, very mild "antithesis" against too much SP measurement-only-approaches.
- Not only the precision (0.1 msec level) time alignment over all the SP drivers but also SP facing directions and sound-deadening space behind the SPs plus behind our listening position would be critically important for effective (perfect?) disappearance of speakers: #687

This post #502 also fit for the same.
 
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dualazmak

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The latest system setup of my DSP-based multichannel multi-SP-driver multi-amplifier fully active audio rig as of August 3, 2023

Edit on December 5, 2023: Please also refer to my post here #858
- VB-Audio MATRIX (VASIO64A setup) as system-wide ASIO and other audio I/O routing center: Replacement for ASIO4ALL and VB-Audio Virtual/HiFi Cables: Part-3_VB Matrix VAIO4 as Windows default audio playback device feeding into system-wide DSP Center "EKIO": #858

Edit on January 8, 2024: Please also refer to my post here #895
- Semi-annual intensive cleaning of all the metal-to-metal connectors/contacts, and complete renewal of all the tin-electroplated copper terminals with heat-shrink insulators: #895

Edit on January 30, 2024: please also refer to my post here #906
- Renewal of SP cabling boards beside SP systems: #906


Abbreviations in this post;
- L&R sub-woofers (SWs),
- L&R woofers (WOs),
- L&R Beryllium-midrange-squawkers (SQs),

(I know nowadays very few people use the word "squawkers", but please let me continue using "SQs" for midrange "MD" drivers.)
- L&R Beryllium-tweeters (TWs),
- L&R metal-horn-super-tweeters (STs),

Each of these is driven directly (with no LCR-network nor attenuator) by dedicated HiFi amplifier; SW has powerful built-in amplifier, and I use four stereo HiFi integrated amplifiers for others.


Hello ASR friends,

I shared the total system configuration/setup last time in my post #540 on June 3 2022 just after my completion and installation of DIY IEC 60268-17 compatible large glass-face 12-VU-Meter-Array.

Since then, I intensively shared "my reference/sampler music playlist" (ref. summary post #669), revived my treasure analog LP player (turn table, TT) in my digital multichannel setup for on-the-fly listening to vinyl LP (ref. #688), and I also implemented an active HiFi-grade pro-use XLR line-level splitter-distributor (BEHRINGER DS2800) enabling fully independent relative gain controls for TWs and STs (ref. #769). In addition to these, during the past one year, I incorporated several minor refinements in my audio rig.

I assume it would be worthwhile, therefore, not only for your reference but also as memorandum for myself, summarizing the latest system configuration as of August 3 2023 together with various setup information on my DSP-based multichannel multi-SP-driver multi-amplifier fully active stereo audio project.

Let me start with the total physical system diagram as of August 3 2023:
WS00006940.JPG


The configuration of 12 VU meters by the newly installed DIY 12-VU-Meter Array (ref. #535):
WS00005885.JPG

I shared video clips of "dancing" 12-VU-Meter Array in my posts #750, #751, #752 and #753.

As for the revival of vinyl LP player (TT) DENON DP-57L in my DSP-based digital multichannel audio rig for on-the-fly listening to vinyl LP, please refer to my post #688 and #697.

The latest total signal path with JRiver MC as master volume controller:
WS00006941.JPG


Please refer to posts #248 and #251 for the fine tuning 22 Ohm resistors in SQ, TW, ST speaker-high-level signals.

My DAC8PRO's firmware is ver.1.32, and the DIYINHK ASIO USB driver is ver.4.59.0 provided by OKTO when I got DAC8PRO in May 2020; working perfectly fine on Windows 11 Pro.

The safe and flexible relative gain (tone) control (ref. #438 and #643) remains unchanged.
WS00006942.JPG


The details of incorporation of BEHRINGER DS2800, HiFi-grade active XLR balanced line-level signal splitter/distributor (ref. #769):
WS00005882.JPG

Note: You would please be reminded that Even Greg Timbers uses "reasonable and budget" small integrated amplifier Pioneer Elite A-20 (low THD, high S/N, RCA unbalanced input, 30W+30W [20Hz-20kHz, THD0.05%, 8 ohms]) for ultra-high Fq compression drivers (super tweeters) in his extraordinary expensive multichannel stereo system with JBL EVEREST DD67000 which he himself designed and developed: please refer to my post here #435.

DSP EKIO's I/O routing settings with 0.1 msec precision group delay configuration:
WS00005880.JPG

As for the 0.1 msec precision "group delay settings" or "time alignment" over all the SP drivers, please refer to posts #493, #494, #504, #507.

And the details of EKIO's XO configuration:
WS00006943.JPG

As for the -48 dB high-cut (low-pass) LR filters at 25 kHz for cutting-off possible UHF (ultra-high Fq) noises, please refer to my posts #362-#386, #518 and #532.

As summarized in my post #404, I have intensively measured the Fq responses at various "stages" of my DSP-based digital multichannel multi-SP-driver multi-amplifier audio setup as shown in this diagram:
WS00006944.JPG


And the standard (best tuned, my default) Fq responses remain unchanged (summary ref. #404):
WS00005878.JPG


Then, the latest "standard and default" best tuned total Fq response of room air sound measured at my listening position by the "cumulative white noise averaging method" (ref. #392, #404):
WS00005877.JPG


Physical layout of PCs, DACs, amplifiers, 12-VU-Meter Array, players, etc.
WS00005876.JPG

The positioning height (140 cm above the floor) of DENON DP-57L TT is really nice for my occasional (not-so-often) "vinyl LP listening ceremony", as you may easily guess.

As for my recent comparative listening sessions for vinyl LP vs. its CD digital release, please refer to my posts #687, #722 and #740.
My motivations (and limitations) for the recent revival of TT in my DSP digital multichannel audio rig can be found here #758.

The actual view of PCs, DACs, amplifiers, 12-VU-Meter Array, players, etc.
WS00005894.JPG


The actual view with identifications:
WS00005895.JPG


My L&R SP system:
WS00005873.JPG

Please refer to post #84 and #497 for the cabinet and drivers of YAMAHA NS-1000 (not NS-1000M). Also here in #497 you can find spec info on SW YST-SW1000. Please refer to #485 for overhaul maintenance of ST T925A.

As for the unique positioning of ST T925A (beneath the WO), please refer to my post #27.

I still keep the currently-not-in-use "LCR passive network in outer-box " (ref. #5) for easy and smooth role back of the whole audio system into my reference single-amplifier (ACCUPHASE E-460) passive configuration together with the connection changes on the "SP cabling boards" shown below.

Again, as for the 0.1 msec precision perfect time alignment between all of the SP drivers, please refer to my posts #493, #494, #504, #507 and #520.

You would please find transient characteristics objective measurement data of 30 cm WO JA-3058 and SW YST-SW1000 in posts #495, #503 and #507.


Several of my ASR friends repeatedly requested sharing the backside wiring views:
WS00005872.JPG


And the backside wiring/cabling views of L&R SP system:
WS00005871.JPG

Please refer to my posts #028 and #137 for the multi-core color-coded Vinyl Cabtyre (VCT) SP cables and the Y-lugs/R-lugs. I use rather long (about 8 m) AWG10 VCT for WOs and SQs, and AWG12 for TWs and STs, also about 8 m long.

For protection capacitors (68 microF for SQs, 10 microF for TWs and STs), as well as 3 microF (1.5 +1.5 microF) high-pass (low-cut) capacitors for STs, I use Jantzen Audio Standard Z-caps (400VDC) as shared here #245.

Also please refer to my post #250, #013(remote thread) for the elimination of magnetic susceptible metals in SP signal handling.


View of SPs from my listening position with the 12-VU-Meter Array placed in front of me:
WS00005870.JPG


Please note that the SPs are not aligned "toe-in" but in parallel with the room walls; please refer to my post #687.
- Not only the precision (0.1 msec level) time alignment over all the SP drivers but also SP facing directions and sound-deadening space behind the SPs plus behind our listening position would be critically important for effective (perfect?) disappearance of speakers: #687

And, showing the distances;
WS00005869.JPG



The 55-inch Panasonic OLED TV TH-55HZ1800 at our dining room can be easily turned-around (DIY-ed large rubber wheel casters with stopper in the legs of the TV cabinet) can serve as "second PC monitor of 4K resolution" connected with a slim HDMI cable from the PC-1 or PC-2 in multichannel audio rig (ref. here #509 on remote thread).
WS00005868.JPG

The two small subwoofers YAMAHA YST-MSW10 underneath the TV are not in use in this case, but they are usually active for casual TV viewing/listening at our dining room.


Behind my listening position, i.e. behind my ears and head, I have acoustically “dead” Japanese style tatami mattress room which is one of the important and nice factors in my room acoustics (ref. #687).
WS00005867.JPG

- Not only the precision (0.1 msec level) time alignment over all the SP drivers but also SP facing directions and sound-deadening space behind the SPs plus behind our listening position would be critically important for effective (perfect?) disappearance of speakers: #687

This post #502 too is relating to my preferences in room acoustics.

As shared here #311, the ceiling of our listening/living room is covered by microporous diatom panels carefully selected with proper sound absorption performance. On the wooden floor, we have the large carpet also selected with suitable sound absorption properties.


I have been rather frequently inquired about the "all in ASIO I/O routing configuration" within PC for software DSP XO/EQ "EKIO"; let me share here again, therefore, the following four diagrams:
WS00006945.JPG


WS00005865.JPG


WS00005864.JPG


WS00005863.JPG



The signal path for on-the-fly listening to vinyl LP (ref. #535):
WS00005862.JPG

Again, as for "not-so-often vinyl LP listening", please refer to my post #758:
- Summary of my motivations reviving vinyl TT (turntable) in DSP-based multichannel time-aligned multi-SP-driver multi-amplifier fully active stereo audio setup: #758


Several of my ASR friends also have inquired me about the completely silent audio dedicated PCs I have been using in this project. This is the updated info of my post #225; now both of the PCs run Windows 11 Pro and JRiver MC 31 as well as the DSP "EKIO".
WS00005861.JPG

I can use either of the two silent PCs for my audio listening; they are, therefore, "backup" PC with each other. In case of my intensive microphone measurement sessions, one PC plays sound/music, and another independent one records with the measurement microphone ECM8000.


You would please also refer to my summary posts #669 and #670 for the intensively discussed and shared "reference/sampler music playlist" during September to October 2022.


If you would be interested in lute music and other early classical music, I will highly appreciate your visits and participation on my separate thread entitled "Lute Music and Other Early Music: Stunning Recordings We Love".

BTW, I will soon also update the "startup/ignition sequences" and "shutdown sequences" in my audio rig (ref. #426).
(Edit: done in my next post #776)

To close this post of "Latest System Setup as of August 3, 2023", please let me remind you that you can find here (#444) (on this thread) and here (#1) (remote independent thread post) the Hyperlink Index of this project and some of my related posts on other threads.


Edit on December 5, 2023: Please also refer to my post here #858
- VB-Audio MATRIX (VASIO64A setup) as system-wide ASIO and other audio I/O routing center: Replacement for ASIO4ALL and VB-Audio Virtual/HiFi Cables: Part-3_VB Matrix VAIO4 as Windows default audio playback device feeding into system-wide DSP Center "EKIO": #858

Edit on January 8, 2024: Please also refer to my post here #895
- Semi-annual intensive cleaning of all the metal-to-metal connectors/contacts, and complete renewal of all the tin-electroplated copper terminals with heat-shrink insulators: #895

Edit on January 30, 2024: please also refer to my post here #906
- Renewal of SP cabling boards beside SP systems: #906
 
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dualazmak

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The latest "startup/ignition sequences" and "shutdown sequences" in my DSP-based multichannel multi-SP-driver multi-amplifier fully active audio rig as of August 3, 2023

Hello friends,

Having the latest system configuration as of August 3 2023 shared in my above post #774, this post is intending to update my post #426.

A few of my dear ASR friends have contacted me asking about standard startup/ignition sequences and shutdown sequences in the multichannel multi-amplifier system together with JRiver MC (or Roon) and software crossover EKIO running on Windows 11 PC.

They were a little bit concerned about the maximum protection of speaker drivers from possible unexpected accidental pop damage, and I fully understand their worries even though I have the protection capacitors for midrange Be-squawkers, Be-tweeters and super-tweeters.

Although I daily perform these very familiar sequences almost unconsciously, I believe it would be worthwhile sharing the sequences with all of you visiting this thread.

As intensively shared in my post #774, the latest multichannel multi-amplifier system configuration can be summarized in these diagrams and photos;
WS00006948.JPG

(For the details of these diagrams and photos, you would please visit my post #774 where you can find the larger ones.)

Standard "Startup/Ignition Sequences":
01. Wake-up the AC Circuit Breaker (100V/15A, if it has been shutdown)
02. Power-on the root switch of 24-port AC power strip (series of four 6-port strips)
______This automatically wakes up DIY-12-VU-Meter-Array, KORG DS-CAC-10, BEHRINGER DS2800
03. Power-on YAMAHA A-S3000 after making sure the volume is at -infinity dB (no sound)
04. Power-on ACCUPHASE E-460 after making sure the volume is at -infinity dB (no sound)
05. Power-on SONY TA-A1ES after making sure the volume is at -infinity dB (no sound)
06. Power-on YAMAHA A-S301 after making sure the volume is at -infinity dB (no sound)
07. Power-on L&R sub-woofers YAMAHA YST-SW1000 by remote controller (preset volume 14:00 o'clock)
08. Power-on OKTO DAC8PRO; make sure the volume (master gain) is less than -75 dB
09. Power-on Windows 11 Pro PC
10. Check & confirm wake-up and running of ASIO BRIDGE at taskbar
11. Check & confirm wake-up and ready of DIYINHK ASIO at taskbar
12. Check & confirm all of the Window's sound I/Os (KERNEL, WASAPI, WMD, Mic, etc.) are muted-off
13. Launch JRiver MC (or Roon); make sure the master volume is at about 5 % (-77.5 dB)
14. Start playing JRiver the 6th track of my music sampler/reference playlist (piano solo)
15. Slightly volume-up JRiver to around 10 % (-55.0 dB); check the JRiver's small VU-EQ meter is properly dancing
16. Launch software DSP EKIO
17. Open/load the EKIO's standard configuration file into EKIO
18. Start playing EKIO
19. Check and confirm that all of the EKIO's I/O VU meter bars are properly moving in very low gain
20. Volume-up A-S3000 to 11:55 o'clock (-18 dB)
21. Volume-up E-460 to -17.0 dB
22. Volume-up TA-A1ES to -17.0 dB
23. Volume-up A-S301 to 09:45 o'clock (ca. -19 dB)
24. Volume-up DAC8PRO to -4 dB; check to properly hear the sound in very small volume
25. Carefully and slowly volume-up JRiver MC (as master volume) to usual listening volume using mouse wheel


Standard "Shutdown Sequences":
01. Stop playing JRiver MC (or Roon)
02. Volume-down the "Master Volume" of JRiver MC to less than 5% (-77.5 dB)
03. Stop playing software crossover EKIO
04. Volume-down OKTO DAC8PRO to -99 dB
05. Volume-down YAMAHA A-S301 to -infinity dB (no sound)
06. Volume-down SONY TA-A1ES to -infinity dB (no sound)
07. Volume-down ACCUPHASE E-460 to -infinity dB (no sound)
08. Volume-down YAMAHA A-S3000 to -infinity dB (no sound)
09. Power-off A-S301
10. Power-off TA-A1ES
11. Power-off E-460
12. Power-off A-S3000
13. Power-off L and R active sub-woofers YAMAHA YST-SW1000 by remote controller
14. Exit/Shutdown EKIO
15. Exit/Shutdown JRiver MC
16. Shutdown Windows 11 Pro PC
17. Soft-shutdown (Mute-off) DAC8PRO by remote controller
18. Switch-off the root switch of 24-port AC power strip (series of four 6-port strips)
______This automatically shutdowns DIY-12-VU-Meter-Array, KORG DS-CAC-10, BEHRINGER DS2800
19. Down the AC Circuit Breaker (100V/15 A, if needed for long shutdown; longer than a week or so)


Although these may look somewhat complicated at your first glance, I usually complete the startup/ignition) sequences in less than two minutes, and I complete the shutdown sequences in less than one minute.;)
 
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Bridges

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I think this is a VERY strong candidate for the Best Stereo Sound System in the entire world!!
I Will go with that: can you tell me if 2 off these Yamaha domes midranges can be hooked up in paralell for tri-amping, or will the resulting impedence be to low to drive with an ordinary Class AB amp?
 

gene_stl

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I have been doing exactly that, since 1977. (but quad amped) It works fine. They have always been driven by Pioneer M-22 class A power amps. More modern amplifiers seem to have little if any problem with 4 ohm, or perhaps slightly less , load impedance. Many of them have published ratings at 2 ohms which people running Infinity speakers in the olden days would have loved to have.

 
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Igor Kirkwood

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Not going to say that the Yamaha NS 1000s are a bad "stereo system".;)

But gene sti, like most ASR leaders, starting with Amir............... forget a little that to listen to a "stereo system" you also have to consider a good listening room, unless you go exclusively to listen in the referenced Harmann room of approximately 100 m2.

Outside your listening room, however perfect it may be, will add a large number of defects, to the point that some acousticians admit that the listening room represents more than 50% of the quality of stereo listening.

In my opinion, in an excellent listening room, the differences between different well-tuned Hi-Fi systems will be relatively small.
 
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dualazmak

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Hello again, Igor,

In comparison with my listening room acoustics/environments, I have been always much envy for your wonderful listening room (or should I say your amazing "studio"?) environments... Yes, I essentially agree with you that listening room greatly "matters" the quality of stereo listening!
 
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